I touched down at Biglake Arts music festival, which features a great variety of musical genres in stunning locations across the County, all creatively curated, touching on the theme of “evolution.”

This past Sunday, a special program of three back-to-back concerts traced the evolution of Beethoven’s approach to the violin sonata. Six violinists, accompanied by four pianists, in multiple pairings, played all ten of the sonatas in order over an eight-hour day.

Although all but one of the sonatas were published within six years, the evolution of Beethoven’s style was clear. The earliest manifest his accomplished sense of the balanced proportions of classical decorum — and then quickly give way to an expressive (and aggressive), less rule-bound, romanticism.

Even from the earliest pieces, though, it is clear that these are sonatas for violin and piano— they are not just arrangements for a soloist and an accompanist, but a real conversation between the instruments evolves, each taking the foreground or falling back in turn. It was fascinating to hear things intensify as the day went by. If the early works were conversations between the instruments, by the later, they are inseparable aspects of a single vision.

The day began with festival founders and directors Johannes Debus and Elissa Lee rallying the audience for its epic adventure. “Get your sneakers on, and let’s go!” said Ms. Lee, who herself played three sonatas over the day.

She noted that three of the violinists were especially young and promising up-and-comers from from Hong Kong’s Musicus Society, sponsored to be here to workshop with the senior pianists. The other musicians came from Vancouver, Chicago, London, Austria, and Italy as well as Toronto.

Ms. Lee praised their professionalism: “none of them have played together before. They all met for the first time just two days ago. This is what we do as a profession: you immediately have to collaborate and find unity with people that you’ve never met before.”

The pianists had a fabulous Bosendorfer Grand, courtesy of Remenyi Music, to work on. Each player had a unique sound. Philip Chiu made me understand why we often talk about a pianist’s approach to the keys as an “attack.” Jane Coop had a more gentle touch, deep in the keys. Louis Lortie’s unique power and tone were fully present.

It was fascinating to hear things intensify as the day went by.
If the early works offer conversations between the instruments, by the later,
they are inseparable aspects of a single vision.

New and exciting to me was Ilya Polataev. Strong, sensitive playing with a Gould-like absorption (there may be some singing under there, in addition to some left hand conducting), and a great facility with fugal passages.

Each of the violinists had their own instrumental sound. Some light, some husky. Among the younger violinists, Pui Ying Wong’s Sonata No. 4 was bright and thoughtful, and delivered with joy. Sheila Jaffe was perfectly matched in tone to her accompanist Jane Coop.

Timothy Chooi was the superstar among the violinists. Playing a legendary Stradivarius, he got the dramatic and pyrotechnical sonatas 7 and 9, the “Kreutzer.” With great confidence and passion, he won the audience easily. “He just masters it like a demon,” said Ms. Lee. He would play a double violin recital with his equally talented brother, Nikki, the next day.

The historic Wellington Music Hall is a wonderful, intimate space to hear music. To sit just a dozen feet from performers is humbling. One appreciates foot stomping in the exuberant moments — and the discipline that delivers quiet long tones that die away. Watching the eyes of the performers as they cued one another, and their sincere pleasure in their own and each others’ accomplishments, was all a tribute to Beethoven: he gives us the best of the human spirit.

It was a wonderful and exhausting day.

Johannes Debus spoke for all when he said of the performers, “they don’t just recite Beethoven, they play it from within their heart, their soul, and their whole body.”

It is truly remarkable to have such talent at such a unique event presented in the heart of rural Ontario. Biglake Arts has achieved something very special.

For information and tickets to the remaining shows, visit Biglakearts. The Festival runs to August 31.